This production was a shared one with the Lyric Opera of Chicago where I saw it with the same cast. Freni was particularly impressive bringing incredible beauty of tone and fine line to her singing as well as fine dramatic skills.
When one is so generous with aplomb, power, stamina and pure voice as Deutekom, why would you point out something as trivial as "pitch problems" in one or two notes during a live performance? If they wouldn't have been there, it would have been perfect. And nothing is more boring than perfection. I'll take excitement over perfection on any given day.
She sings well, but in English it's very strange, it doesn't sound good. This opera is in Italian. It's like singing Wagner in French, it will still seem strange.
Couldn't figure out the little girl playing Hopscotch! singing super , sets not as provocative as a more recent Metropolitan Opera production with Jonas Kaufman.
DAS ist Wagnergesang....wo bitte gibt es heute einen solchen hochdramatischen Sopran der wie ein Mezzo klingt und derart souverän die Dämonie dieser Partie auszudrücken vermag wie die großartige Ludmilla Dorakova???? Auch Martina Aroyo als Elsa ist vortrefflich !!!!
@@acacia-bloom He spends his life realising that sopranos are in fact contraltos, and mezzos are sopranos and dramatic sopranos are lyric and lyrics are coloraturas and coloraturas are actually basses 🤣🤣🤣🤣
The singing is great, but opera is so much more than that. Set design, costumes, blocking, and direction are just as important. What is the point of the dancing girl?!? Incompetent directors always feel the need to fill those last few measures of music with something for the audience to see.
@@acacia-bloom And the snow??? If the "symbolism" was needed, Gounod would have added it to his productions. The creator's artistic intent is always paramount, not the manipulations of modern producers.
@@lacrimosa3269 you obviously dont understand the meaning of "fool around" - that has nothing to do with you or anyone else being a fool. Google "fool around"
Listen to hear Nilsson's bright, gleaming and powerful voice and also for Bohm's unbelievably conducting. I love Rysanek but here she scoops, slithers, slides and sings so horribly out of tune that my ears hurt from listening. La Nilsson is "the shit!"
How I wish Corelli and Bumbry had done a video of Tosca . I would also love to see them in Carmen together! and in Cavalleria Rusticana, They were so exciting when paired together, their chemistry was great!
@@acacia-bloom For heavens sake . Did you write your reply before waking up properly? Sure I know AK doesn't appear in this video ,this is why I wrote my comment in the first place . I am a perfectly sane person who doesn't blatter religious stuff on utube .Jesus is Jesus Muñoz ,a commenter here .For whatever reason my first comment doesn't show up as reply to his .
Cette scène finale de Faust est à mon sens une des plus saisissante de tout l'art de l'Opéra Occidental .Faust est une oeuvre majeure du répertoire Européen .
the way she sings "Vanne, si, mi lascia indegno!" is just so so wonderful. her voice is so well coordinated, you don't even know when she switches to chest voice until way later, and both registers sound powerful and projected. but above all, i can hear the emotion. she truly sounds angry and assertive, and she delivers it with so much power. i have yet to hear anyone do it better than her.
I saw Deutekom as Norma at the Lyric in Chicago. Rather like Callas, the acoustics of the house softened the somewhat distinctive glottal technique that she used at times in the fioratura. I say this having heard Callas once in her final tour but also having heard recordings in the acoustic of a theater when attending the play "Master Class". In that case as well the theater acoustic changed what is often described as flaws in the voice or strangeness of the technique.
